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Precise focusing ZEISS SLR lenses make the entry into high definition video easier

The 5-lens SLR Bundle is extremely popular among young filmmakers and provides a range of lenses from 21mm through 85mm in a rugged transport case

OBERKOCHEN/Germany, April 6, 2013
At this year’s NAB Show in Las Vegas (April 8-11) Carl Zeiss will not only display cine lenses at its booth C9043, it will also present its entire portfolio of lenses for digital single-lens reflex cameras (DSLR), with a total of 13 focal lengths for F mount and 12 focal lengths for EF mount cameras. Included in this range are the new Distagon T* 2,8/15 ultra wide angle lens and the new Apo-Sonnar T* 2/135 telephoto lens, which began shipping in early 2013.

The ZEISS SLR lenses will be of particular interest to entry-level filmmakers as well as still photographers adding video production to their range of services. These manual focus lenses enable precise focusing and feature a long angle of focus rotation. As a result, they achieve exactly the sharpness that is needed. Furthermore, they allow a compact camera set-up (even in cramped shooting locations); create new perspectives; and have a less daunting impact on people involved on the set than when using large cameras. The combination of these features also makes the ZEISS SLR lenses a good choice for more sophisticated HD video users when filming interviews, documentaries, music videos or corporate image videos.

“The lenses make the entry into high definition video easier because they deliver high image quality and do not need the elaborate professional rigs which are common with cine lenses,” points out Richard Schleuning, National Sales Manager, Americas for the Carl Zeiss Camera Lens Division.”The 5-lens SLR Bundle we introduced in 2012 has been extremely popular among young filmmakers and provides a range of lenses from 21mm through 85mm in a rugged transport case.”

Even with all these advantages, SLR lenses can reach their limits when used for video. “When I started out, the ZEISS SLR lenses were just the right choice and a good basis for my work. They created great results. But as your experience grows, you have further requirements. That’s why I gradually switched to the CP.2 lenses,” says Clinton Harn, a director of photography.

Unlike the SLR lenses, the lenses from the Compact family have a cine-style housing, a standardized focus rotation angle of 300° and gears to mount follow-focus systems. A uniform size and consistent front diameter on all CP.2 cine lenses also make it possible to use matte boxes with very little effort. Other key advantages compared to the SLR lenses are five additional aperture blades for a rounder iris opening, bringing the total to 14 and resulting in a harmonious bokeh. When shooting a movie,” Harn continues, “the CP.2 lenses are definitely more comfortable to handle thanks to their added features. For beginners these functions are often not the most important. Therefore I would always recommend the SLR lenses for beginners in the HD video segment.”